On Mahler

Sometime in the past few months I finished Song of the Lark by Willa Cather. I say sometime because it took me so long to eek out the last 20 pages it seemed more like it evaporated than I completed it. However, the story has made a lovely and lasting impression on me. Interestingly SofL was written in 1915 and the Lied were composed in 1908--and as I listened to Mahler's Lied, I thought again and again of the similarities of the Lied and SofL both in theme and in subject, in tone and in the finale. In fact listening to the Lied helped me to finally understand the end of SofL, and helped me think through the Lied with some more coherence.

The subject matter immediately jumped to mind--with the German Mahler being influenced by the Eastern motifs and poetry--bringing it to bear on the rather tense Modernism with which he struggled, all within the somewhat florid context of the Art Nouveau style. Thea, also struggling with Modernism in a sense--what it means to be an artist in a time when most people are consumed by business and the newest fad--she heads to Germany to pursue serious voice training. The audiences in Europe and America sharply contrast--in Europe the masses are informed and trained listeners, in American the masses are swayed at the merest note from a critic and love singers for character rather than for excellence. Interestingly, Mahler first performed these Lied while at the Met in New York--where Thea eventually makes her break out debut.

In the Lied, Mahler starts with the troubadour's introduction--much like Cather's introduction--full of boisterous and somewhat jumbled first impressions--the earth's fiery sand cliffs, Thor bumping along in the wagon, the deep ruts of the old wagon trails, Spanish Johnny's mysterious disappearances when the mood strikes him, the low undertone of Thea's mother's understanding and Ray Kennedy's devotion and tragic death. All of the themes of exultation, sadness, striving, triumph, and loneliness are there, though it's unclear how the song hangs together (it was my least favorite), and it is not until the end that you see how the threads all do develop and lead to a coherent narrative. 

Mahler, and Cather move then to Autumn--as an aside, this is markedly odd--typically both in symphonies and in narrative--the conceit is to begin with Spring--with the bursting forth of youth. Neither artist does this however. We are plunged in Mahler's Lied into a drudging and sad song of decay. Thea escapes from Moonstone, we initially think in order to finally have the chance to meet her potential--instead she spends her time focussing on the wrong instrument (the piano, not her voice), has to return to Moonstone (again more frustration, since she is totally alienated from those who are there), and back to Chicago again, only to spend her time with a capricious and unhappy instructor, drearily changing from boarding house to boarding house (seemingly always in the rain), and making no real progress or connection. Yet there are glimpses of hope. Thea knows with certainty what her true gift is, and meets Fred Ottenburg. 

Onward to Youth, Beauty and Spring. Fred allows Thea the chance to spend time in Arizona, where she recaptures her vigor amongst the ancient spirits of the cliff people, the sparrows, and the sun--solidifying her identity and connection with human industry and striving, and lifting her to see the strength and delight she can communicate. She trains in Germany, and begins to sing in major productions in Europe. Conversely parallel to the Autumn, hints of sadness pervade the exultation--the cliff dwellers are absent--all of their industry is known only through remnants, Fred's tragic deception of Thea, and his being trapped, unable to fully enjoy or marry Thea, Thea's mother's death, and her inability to be there, the tragi-comic death of Dr. Archie's wife. 

In Mahler's stunning Farewell all of the elements hinted at and developed in the earlier songs come into vivid coherence. As Jack's post point's out his farewell is mournful and resigned, but hopeful. Cather finishes too with a Farewell of sorts. Thea's final direction as an artist is defined through the last conversation we overhear between her and Fred Ottenburg. There is a farewell, and Thea progresses on to what appears to be entirely musical being. There is very little humanity left in her, and I think, very little hope. It's a sad depiction of the Modern person I think, and one that even though Mahler shares, and perhaps perceives an even greater pathos involved in the human struggle of achievement and decline, his is more humane finally than Cather's.